Staff members at JANM have been particularly excited lately about a new product being sold at the JANM Store: Karami, a unique salsa developed over 100 years ago by Japanese American immigrants in Colorado. In addition to being extremely tasty, the salsa (whose name means “beautiful heat”) offers a window onto a little-known piece of Japanese American history.
According to Karami’s website, the salsa came into being around the turn of the 19th century, after some enterprising Japanese immigrants settled in Colorado with their families. Finding themselves far inland without access to the ocean-based food staples of their native land, they were forced to be inventive with the resources they had. After sampling a variety of local vegetables, they found that the spicy green chile pepper made for the most viable substitute for seaweed. They mixed the green chiles with soy sauce and used it as a topping on rice, fish, chicken, and meats.
Generations of Japanese Americans who grew up in Colorado were known to keep a jar of the homemade mixture on their kitchen table. Every family had their own variation on the recipe. It was Jason Takaki’s family recipe that formed the basis of the product now known as Karami Japanese Salsa; with the help of his partner Kei Izawa, Takaki was able to turn his salsa into a viable business. For a detailed account of their journey, check out this Daily Camera article. For an early review of the salsa, see Gil Asakawa’s 2013 article on JANM’s DiscoverNikkei.org.
This writer sampled the product and was instantly hooked. Karami Japanese Salsa possesses a smooth, silky quality that I’ve never experienced in other salsas. An initial pleasingly sweet flavor soon gives way to a memorable kick that packs a low, slow-burning heat. I had it with tortilla chips and polished off half a jar before I knew it. Maria Kwong, JANM’s Director of Retail Enterprises and the person responsible for bringing us this salsa, tells me it’s great on hot dogs. Jason Takaki himself likes it best on fried rice.
A jar of Karami sells for $8 in our store; check it out the next time you’re at the museum. Please note this product is not available online.
Founded in 2011, Kizuna is a nonprofit organization based in Little Tokyo whose mission is “to build a future for our community through the education, empowerment, and engagement of the next generation.” Through a variety of workshops, projects, and initiatives, Kizuna teaches leadership and community service skills as well as Japanese American values and cultural practices to Nikkei youth of all ages.
At the 2017 Oshogatsu Family Festival, JANM hosted Kizuna’s story time reading and signing of their recently published children’s book, Thank You Very Mochi (available for purchase at the JANM Store). We will also be partnering with them to present our next JANM Free Family Day on Saturday, April 8. The event will celebrate Japanese American history and Kizuna staff will be on hand to lead craft activities, a spam musubi workshop, and story time readings.
This week, we sat down with Kizuna director Craig Ishii via email to find out more about the organization and what it does.
JANM: You’ve been going strong now for six years. Please tell us the story of how and why Kizuna was founded.
Craig Ishii: Several of us had been working at different community-based nonprofits for some time—Little Tokyo Service Center, Japanese American Cultural and Community Center, Japanese American Citizens League, etc. During our tenures with those organizations, it became clear that the community was looking for involvement from the next generation, but there was a general lack of knowledge and practice on how to do this. So in 2011, we brought our heads together and created the organization. We were not experts in this arena, but we had the drive. We went through several names before we found the name “Kizuna.”
When we were first getting off the ground, we had no office and no resources, but we had our networks, a clear vision, and nonprofit building skills. In addition to our years of working in nonprofits, several of us also held master’s degrees in nonprofit management; I really believe that the technical knowledge we acquired in those programs had a huge impact on the success and growth of Kizuna. In our first year, we launched our programming, held our first fundraiser, and seeded the funds to hire our first staff member. Since then, we’ve been able to continuously grow our budget, staff, and programs each year.
JANM: What does the name “Kizuna” mean?
CI:Kizuna doesn’t have a direct English translation. Eiko, the very wise receptionist at JACCC, described it best when she told me that kizuna is the depth of your relationship with someone. So the bond between myself and my parents, that is our kizuna; or the bond between best friends, that’s kizuna. We chose this name for a couple of reasons: we’re hoping to create a deep relationship between our students and the community, but we’re also hoping to build a tightly knit next generation that is connected and networked.
JANM: Tell us about the book, Thank You Very Mochi. What inspired you to get into publishing, and is this the first of more children’s books to come?
CI: Our program manager, Paul Matsushima, held a workshop a couple years back where he had to manage more than 60 kids for a mochitsuki (mochi pounding) workshop. He knew that having 60 kids pound and knead mochi at once would be impossible, so he split them into various activity stations. One of those was a storytelling station that revolved around a family mochitsuki. Afterwards, one of the parents said to him, “Hey, that story is a cute idea, you should turn it into a children’s book.” So Paul, Sophie Wang (Kizuna’s development coordinator), and I co-authored Thank You Very Mochi. It’s been a great way to get our mission out to the community here in Southern California and beyond. I think this book is everyone’s favorite accomplishment to date and yes, we would like to publish more!
JANM: What are some of your other favorite accomplishments?
CI: I’m pretty sure we have the largest network of Japanese American summer camp programs in the nation now. We manage six separate locations working with around 350 elementary to middle school students per year (and that number grows each year). It’s our largest program but also our most creative. It’s my personal favorite because it allows Kizuna to build the culture of the next generation. When we have a student who attends for more than a couple of years, we can impart important understanding and behaviors that will help them be successful and give back to our community as they age.
JANM: It’s amazing that you offer a full range of programs for ages seven through young adulthood. Do your kids tend to come back to take on more advanced programs?
CI: Yes, definitely, there’s a high retention rate. For me, working with kids is the clearest and most direct representation of impermanence. On one hand, you want the kids to grow up and everything that you do is about their growth and development. But then, of course, as they do grow up, they become smarter and wiser, and they really don’t need you as much. Then at that point, they become the teachers, instructors, and mentors. It’s great to watch this, but sometimes it feels like it happens a little too quickly. I’m sure folks in my parents’ generation say the same thing about us!
As we look forward to the advent of spring on March 20, one of Japan’s most beloved holidays helps us get into the spirit. Hinamatsuri, or Girl’s Day, occurs on March 3, just as the chilly climes of winter begin to show signs of receding.
Hinamatsuri celebrates and nurtures the promise of young girls. It does this primarily through an elaborate display of dolls dressed as members of the imperial Japanese court. In addition to being a favorite toy of many girls, the display represents the family’s hopes that their little girl will be as beautiful, graceful, and fortunate as the little dolls.
A typical Hinamatsuri arrangement consists of multiple tiers, with the Emperor and Empress perched on the top tier, followed by descending ranks of servants: samurai, ladies in waiting, and children. Also included are accessories for the dolls, such as tea sets, dressers, and even bathtubs. A full Hinamatsuri set can be very elaborate and very expensive, and many have been passed down through generations. Hinamatsuri celebrations also include eating special foods, such as hina arare (sweet rice crackers) and sakuramochi (mochi wrapped in cherry leaves).
For the most part, Hinamatsuri is celebrated privately, as a domestic ritual, although public displays and ceremonies do occur. Each family typically brings out their set a few weeks before the holiday, displaying it in the nicest room of the house until the holiday is over. They must take care to put it away promptly, however, as an old superstition dictates that a girl who tarries too long with the dolls will have difficulty finding a suitable marriage.
The word hina means small and lovely object, while matsuri is the Japanese word for festival. Historians trace the origins of Hinamatsuri to the reign of the Shogun Tokugawa Iemitsu (1623-51), when ministers presented a set of hina dolls to the shogun’s eldest daughter on her seventh birthday, thus beginning a practice that became popular among the noblemen of the day. However, the basic idea of a spring festival to nurture new energy and ward off bad luck dates as far back as ancient China.
At JANM, we’ll be celebrating Hinamatsuri with an origami workshop on Saturday, March 4, at 1 p.m. Longtime museum volunteer and origami enthusiast Ruthie Kitagawa will show you how to make Hinamatsuri-themed cards for your family and friends. The JANM Store also has several Hinamatsuri-related products to help you celebrate; check out, for example, this cute solar-powered Hina doll display, or this beautiful rabbit Hinamatsuri pop-up card.
A new year is here, and this Sunday, JANM will be celebrating Oshogatsu (Japanese New Year) along with the rest of Little Tokyo. Our free Oshogatsu Family Festival will welcome everyone with Year of the Rooster-themed activities, crafts, and performances.
Oshogatsu is widely considered the most important holiday in Japan, and there are many time-honored traditions that go with it. We’ve explored a few of those traditions on this blog: mochitsuki, Daruma dolls, and osechi-ryori. Today, in anticipation of Sunday’s festival, we will look at kagami mochi, a traditional Japanese New Year decoration. Among the many exciting things we have planned is a craft activity in which participants will be able to construct and take home their own replica of a kagami mochi.
Kagami mochi basically consists of a large round rice cake (mochi) topped with another, slightly smaller rice cake, which is then topped with a small bitter orange (daidai). The two rice cakes symbolize the year that just passed along with the year that is to come, while daidai is a homonym for the phrase “generation to generation.” Thus, the arrangement celebrates long life, the bonds of family, and the continuity of generations.
An additional meaning harkens back to an ancient Japanese myth. The word kagami means mirror, and the round shape of the rice cakes is said to resemble the mirror of the sun goddess Amaterasu. According to legend, the earth went dark when Amaterasu retreated from the world and hid in a cave. She was eventually drawn out with a mirror, restoring light to the world. Thus, kagami mochi also symbolizes the renewal of light and energy that occurs at the start of a new year.
Each family decorates kagami mochi in their own way; variations include a sheet of kelp to symbolize pleasure and joy. It is recommended that several kagami mochi are placed in locations throughout the house, in order to please the various Shinto gods that are believed to dwell there.
Kagami mochi are set out around the end of the year, and remain on display until kagami biraki day (kagami breaking day, or “the opening of the mirror”), which usually takes place on or around January 11. On that day, the kagami mochi are broken into pieces with a hammer—never cut, as that would symbolically sever family ties—and cooked and eaten, often as part of a traditional soup called ozoni. This is considered the first important Shinto ritual of the year.
Come celebrate with us on Sunday, January 8, and increase your good fortune for 2017!
As “Shibori Girl,” Glennis Dolce offers several shibori (resist cloth dyeing) workshops a year at JANM. If you’re not familiar with the art of shibori, check out our earlier blog post on the history of the craft. Dolce’s workshops are always very popular; in fact, this weekend’s Indigo Vat Making and Shibori Technique workshop is completely sold out. We decided to sit down with Dolce to learn more about her background and her practice.
JANM: You’ve said that you think of Japan as your first home. Can you explain your connection to that country?
Glennis Dolce: I grew up in Yokohama, Japan, as a result of my father—a naval architect—taking two back-to-back assignments at the Yokohama Naval Shipyard. We lived there from 1965 to 1972. We lived both on and off the base and had the opportunity to take in many wonderful locations, absorbing the enriching culture and beauty of Japan. I went to the two base schools in Yokohama (Richard E. Byrd Elementary and Nile C. Kinnick High School) as well as St. Maur International School. In 1995, I went back to Japan for the first time after moving away and realized that I had come back “home.”
JANM: How did you first encounter shibori? What captivated you about it?
GD: I must have seen and even worn some shibori as a child at summer festivals in Japan, where we dressed in yukata (summer kimono) with obi age (sash), but back then I did not know what it was. During the late 1990s, I was a vendor at the Houston Quilt Festival, and it was there that I started to pick up small bits of Japanese textiles. Later, I realized that most of what I had collected was shibori. I was intrigued by its unique patterning and the texture that was sometimes imparted to the cloth by the process. I wondered to myself, how was it made? And that’s how it all started. I studied the fabrics, read many books, and eventually began practicing on my own. As I learned and practiced more, my love for shibori grew with the understanding that each piece is unique and has limitless possibilities. This in itself is a view of life that I enjoy passing along when I teach.
JANM: Describe your artistic training.
GD: I was fortunate to attend a new and experimental high school in Virginia that was very progressive and had full-on art studios in painting, sculpture, ceramics, metals, textiles, and printmaking. It was fantastic. I had access to materials and equipment, and I had a passion for working with my hands. Following that, I attended UC Davis and CSU Long Beach as a ceramics major in the late 70s. I chose ceramics because I thought I could make a living with clay and I wanted to work with my hands. I started a porcelain company while I was at CSULB and worked in porcelain for over 30 years until I closed the company around 2002. I consider my primary training to be the ongoing day-to-day operation of my business, my love for materials and process, and the challenge of making a living outside the constraints of being “normal.”
JANM: Besides teaching, you also run an online store. Can you tell us more about the store?
GD: Yes, I actually spend more time making and selling my work than teaching; I enjoy both. I have been blogging since 2006 and over time have created a following for my work. I have always enjoyed making and selling things that others can incorporate into their own work—being a craft supplier if you will. My online store often features my unique silk shibori ribbon that people all over the world buy to use in their own creative projects. I also sell indigo and plant-dyed cloth for others to incorporate into their own work.
I believe that making things by hand is valuable and even necessary for people. It can provide stress reduction, increased life satisfaction, and even improved brain function, according to some studies linking motor skills with cognitive processing. I enjoy creating things that make people wonder. As a child, I realized that making arts and crafts made me feel better. It still does. I started teaching as a way to educate people about my own work as well as encourage them to incorporate hand-making into their own lives.
JANM: Do you have other creative pursuits besides shibori?
GD: I do like to share my interest in Japan and silk textiles with others in the form of my Silk Study Tour to Japan, which I offer every other year. It is a tour devoted to seeing Japan through the eyes of a silkworm; understanding the industrialization of Japan and its connection to the silk trade as well as the many textile, craft, and cultural traditions there. I get lots of enjoyment from sharing the beauty and grace of Japan with others through this tour.
I have many creative interests—gardening, cooking, writing, marketing, sewing, watercolor painting, calligraphy, and more. I believe that we can inject creativity into almost anything we do!
This Saturday, October 22, JANM is offering a Decoden Phone Case Workshop, led by lifestyle personalities Chrissa Sparkles and Jon Brence. Participants will bring their own plain plastic phone cases and make them over with the decoden materials provided. Many of you are old hands at this, but others may be wondering, what is decoden? And where does it come from?
The word decoden is a Japanese portmanteau combining deco, which stands for decoration, and den, which is shorthand for denwa, the Japanese term for “phone” (literally “electric talk”). Decoden culture began to develop almost as soon as cellular phones came into popular usage, around the turn of the century. If you are familiar with the American craft of “bedazzling,” then you can understand decoden, which is basically the same thing—dressing up ordinary objects with sparkly accessories.
At first, decoden was applied specifically to cell phones and cell phone cases. As its popularity grew, however, decoden spread to encompass portable gaming systems, digital cameras, tablets, flash drives, picture frames, and even fingernails. Today, it’s an essential component of Japan’s kawaii (cute) culture.
The decoden aesthetic is cute, playful, and above all, excessive. A huge amount of colorful, decorative trinkets are affixed to the surface of the phone or other ordinary object, turning it into a bright, eye-catching work of art that expresses the personality of its owner. Popular components include thick, fake cake icing; tiny clay figurines of everything from ice cream cones and lollipops to buttons, candies, and Sanrio characters; and plastic pre-manufactured charms, referred to in the decoden world as “cabochons.”
Making the perfect decoden object can be time-consuming, and perhaps not as easy as it looks; it requires patience to come up with good designs, a large number of individual pieces have to be glued on, and there are a variety of methods and materials to choose from. Come to our Decoden Phone Case Workshop this weekend, where our expert kawaii workshop leaders will take you back to the origins of the craft and make sure you get it just right!
Arigato, baka, sushi, benjo, and shoyu—how often have you used these words? For Nikkei (Japanese emigrants and their descendants), the Japanese language symbolizes the culture of one’s ancestors. Japanese words often get mixed in with the language of the adopted country, creating a fluid, hybrid way of communicating.
JANM’s Discover Nikkei project is a major online resource that brings together the voices and experiences of Nikkei who have created communities throughout the world. The multilingual website—available in English, Japanese, Spanish, and Portuguese—documents Nikkei history and culture and provides learning and networking tools for global Nikkei communities.
Every year, Discover Nikkei’s Nikkei Chronicles puts out a call for original stories from Nikkei writers around the globe. The theme of this year’s Nikkei Chronicles is Nikkei-go: The Language of Family, Community, and Culture. All Nikkei are invited to submit stories that share various perspectives on and experiences with language. Do you speak multiple languages? Do you communicate better in one language than another? Are there some things that can only be expressed in one language? Qualifying submissions will be published on the website, where readers can vote for their favorites. The deadline for this edition is September 30 at 6 p.m. PDT, so submit your story now!
Below are links to the Nikkei-go stories that have been published in English to date. Read them and vote for your favorites! The most popular stories will be translated into all four of the site’s languages and spotlighted.
This Sunday, August 21, at 2 p.m., JANM is pleased to host a unique staged reading of Arthur Miller’s iconic drama, “Death of a Salesman.” Directed by Michael Miraula and produced by Tadamori Yagi, the reading will feature a predominantly Asian American cast as it attempts to explore minority relations within the larger context of mainstream white America in the late 1950s.
To learn more about this production, we conducted the following interview with Yagi, an LA–based actor who, in addition to producing this reading, also plays the role of Biff, Willy Loman’s son.
JANM: How did this production of “Death of a Salesman” come about?
Tadamori Yagi: I really wanted to work on this play; specifically, I wanted to act the role of Biff. When considering how best to go about this, I immediately realized two things: 1) Willy’s family would have to be cast as Asian American, and 2) I’d probably have to produce it myself.
It all seemed like a huge, impossible undertaking. But then I found an article about a group of students at the Stanford Asian American Theater Project who produced their own version of “Death of a Salesman” in 2013. After reading it, I said to myself, “I should at least do something!” Since I didn’t have the experience or resources to do a full production of the play, I decided to go with a staged reading instead.
JANM: Tell us about the structure of the play. Who will be playing what roles, and how does the casting work with the existing narrative?
TY: The play consists of two acts centering around the life of a traveling salesman named Willy Loman and his pursuit of success and the American Dream. Time-wise, it takes place in the late 1950s.
When casting the play it was important to me that the family be an accurate portrayal of a multi-ethnic Asian American family. The reason for this was personal, as I am Japanese-Chinese-Korean American. The actor who plays Willy (Kelvin Han Yee) is Chinese American while Willy’s wife Linda (Marilyn Tokuda) is Japanese American. Meanwhile, the actors playing the sons, Happy (Kenzo Lee) and Biff (myself), both have mixed Chinese and Japanese ethnicity.
APIA actors are often cast randomly without regards to their actual ethnicity but, for a family drama, I felt casting accurately would make it feel more authentic. I also decided to cast Willy’s neighbor Charlie (William Gabriel Grier) and his son Bernard (Ky Soto) with African American actors. Through these unconventional casting choices, I wanted to subvert social stereotypes of both the Asian American and African American communities—challenging, for example, the Asian American model minority myth.
It was also important to me that the casting of the play be historically and culturally accurate. For example, I consciously made the choice to cast Willy Loman as Chinese American; if he were Japanese American, he and his family would have been interned during the war years and he would not have been able to work as a traveling salesman.
Likewise, before I cast Charlie’s family as African American I made sure to research whether or not there were actually black lawyers presenting cases before the Supreme Court at that time. Luckily it turned out that during the late 1950s, there was a small number of black lawyers presenting civil rights cases before the Supreme Court—one of them being future Supreme Court Justice Thurgood Marshall. Historical accuracy and authenticity are important to me.
JANM: “Whitewashing” (the practice of casting white actors in non-white roles) has been increasingly called out in the media. Do you consider this version of Arthur Miller’s play to be your response to whitewashing in the entertainment industry?
TY: While I did not explicitly intend for the casting to be a response to “whitewashing,” I suppose it could be interpreted that way.
JANM: What do you hope will be the audience’s takeaway after seeing your play?
TY: I hope this reading of the play will resonate with the audience in such a way that some will recognize aspects of themselves or their own families in the play.
JANM: Are there other iconic plays or films that you think would benefit from a similar treatment?
TY: I love period pieces and I love family dramas. I picked “Death of a Salesman” because, in addition to being a compelling drama, it has an inherent universality that can accommodate an ethnically diverse cast. I’m sure there are tons of other iconic plays that could work, especially the more modern ones, like “The Odd Couple,” “Of Mice and Men,” or “Waiting for Godot.”
Ironically, for all the pains I took to cast the play in a “realistic” way, what I took away from the whole process was this: if you love the material and it speaks to you on a human and personal level, the other details don’t really matter so much. As a creative person you should just do the work and you will find a way to make it fit somehow. And if you can’t find a story that adequately fits your experience, you should create your own story, because getting to do the work you love is the main thing.
Tadamori Yagi’s staged reading of “Death of a Salesman” is free with museum admission. RSVPs are recommended here.
It’s hard to believe that my year as a Nisei Week Princess is coming to an end. It seems like just yesterday that the seven of us were on stage at the 2015 Opening Ceremony, saying our introductions for the first time. It’s been an amazing year to say the least—from the trips to Japan, Hawai‘i, and San Francisco, to attending numerous community events. I’m lucky to have met so many people who truly care about the community and inspire me to continue giving back and sharing the Japanese American story.
In my speech from Coronation last year, I discussed how my birth mother named me Sora, which means “sky” in Japanese. The sky is something that connects everyone in this world, so giving me that name meant that she would always be connected to me. One of my greatest takeaways from my year as a Nisei Week Princess were all the connections I made with people from Little Tokyo and around the world.
I’m grateful for my six new sisters—Sara, Veronica, Karen, Michelle, Kelsey, and Tamara—who I’ve gotten to know inside and out. Through thick and thin, I know I can count on each of them. The seven of us all possess unique qualities and strengths, which makes us an unstoppable team when we work together. I can’t thank them enough for their friendship and love.
Sara was our fearless and humble leader, setting the bar high for future Nisei Week Queens and showing us what it takes be a great leader. Veronica did everything with a smile, stepping up when needed with grace and confidence. Karen looked out for each of us—we could always count on her to be there when we needed her. Michelle made us look good all year—whether through her graphic design or people-to-people interactions, she was a great representation of our court. Kelsey always kept us laughing and her love and dedication to the community outside of Nisei Week was beautiful to see. And Tam’s positive energy, her thoughtfulness and creativity, were always appreciated, especially during tough times.
I was also able to meet and listen to countless leaders in the Japanese and Japanese American communities through the Nisei Week Foundation, our sister organizations, the festival hospitality committees, and other helpful organizations. I learned so much from them, and look forward to learning more.
My year as a member of the court gave me more than I could imagine. I gained many new skills that I will carry for the rest of my life. Before starting this journey, I hated public speaking and would get extremely nervous before speaking in front of a large crowd. Now, I can confidently give speeches. This same confidence is also reflected in one-on-one conversations I have with community members and business leaders.
My hope for the soon-to-be 2016 Nisei Week Queen and Court is that they will cherish the experiences and connections they will make in the next year. They have many opportunities ahead of them to carry on the Nisei Week Foundation’s legacy, and to nurture the many relationships that have been established since the first festival was held in 1934. I have faith that each of these women will represent the community well in the next year. If I had to give them one piece of advice though, it would be to always keep red lipstick and a spare pack of bobby pins in their crown box.
I will miss seeing my court every week and constantly having a full schedule, but I look forward to attending many of the events we went to in the last year for years to come. I don’t know what’s in store for me next, but I know my experience as a Nisei Week Princess helped me to become a stronger and more confident individual.
The 2016 Nisei Week Japanese Festival kicks into high gear this weekend. On Saturday evening, August 13, a new queen will be crowned at the Coronation Ball. Then on Sunday afternoon, August 14, Little Tokyo welcomes the public to its Grand Parade. The festival will end on Sunday, August 21, with a community Ondo Dance. For more information including complete event schedules, visit niseiweek.org.
JANM will be joining the fun on Saturday, August 13, with our annual Natsumatsuri Family Festival, held from 11 a.m. to 5 p.m. This popular event offers all kinds of fun for the whole family, including musical performances, a taiko workshop, crafts for the kids, temporary tattoos, free food samples, and more. Make a day of it in Little Tokyo!
The Nikkei Genealogical Society (NikkeiGen) promotes, encourages, and shares Nikkei genealogy through education, research, and networking. NikkeiGen’s general meetings are open to anyone who is interested in researching their family trees, learning more about their Japanese roots and heritage, and participating in group discussions and networking.
NikkeiGen was founded in 2013 by Melinda Yamane Crawford and Susanne Mori. Both are genealogy buffs, and Crawford was already a member of the Santa Barbara County Genealogical Society. After attending two workshops on Japanese genealogy together—including Chester Hashizume’s “Discovering Your Japanese American Roots,” held twice a year at JANM—the two friends saw a need for a research and networking group specifically devoted to Japanese American family histories.
NikkeiGen meetings occur approximately once a month from January to October, with the location alternating between JANM and the Southern California Genealogical Society (SCGS) in Burbank. The meetings tend to be informal and energetic, revolving around a shared enthusiasm for genealogical research. Friendships are quickly formed as participants share stories and exchange ideas and resources. Meetings can also include special presentations, trainings, and focused discussions on topics of interest. In addition to the monthly meetings, NikkeiGen offers workshops and participates in events, such as the Southern California Genealogy Jamboree, the annual Manzanar Pilgrimage, and the Nikkei Angel Island Pilgrimage.
The next NikkeiGen general meeting will take place on Saturday, July 23, from 1 p.m. to 3 p.m. at JANM. Meetings are always free, but RSVP is required. To RSVP or for more information, email email@example.com or visit facebook.com/nikkeigen.